Chapter 10 Looking at Movies

Who cofounded the journal Cahiers du cinema and is considered the father of the French New Wave?

André Bazin

2.

Which of the following occurred in the new Hollywood?

The studio system collapsed.

3.

Films of the Italian neorealist movement are characterized by
_____________ locations, ____________ actors, and a ____________ visual
style.

real; nonprofessional; documentary

These are three defining aesthetic characteristics of Italian neorealism (pages 438–441).

4.

Literally, "dark chamber." A box (or room in which a viewer stands); light entering (originally from a tiny hole, later through a lens) on one side of the box ( or room) projects an image from the outside onto the opposite side or wall.

camera obscura

5.

How would you characterize the Hollywood studio system during the classical period?

a top-down organization in which management controlled
everything

6.

The Motion Picture Production code began in the silent era of Hollywood and was not abandoned until 1968. (True or False)

False

The Motion Picture Production Code was instituted in 1930. There was no code in the silent period (page 436).

7.

The Dogme 95 movement in Denmark drafted a manifesto that includes WHICH of the following rules:

The director must not be credited.

8.

French New Wave director ______________ directed The 400 Blows and wrote the influential essay “A Certain Tendency in French Cinema.”

François Truffaut

9.

negative or negative photographic image

A negative photographic image on transparent material that makes possible the reproduction of the image.

10.

The first movie studio-a crude, hot cramped shack in which Thomas Edison and his staff began making movies.

black maria

11.

Besides being one of the first “Westerns,” what is significant about Edwin S. Porter’s 1903 film The Great Train Robbery?

It is one of the first films to pioneer the idea of
continuity editing.

12.

What political leader nationalized the Soviet film industry and
established schools that trained filmmakers to make propaganda films?

Lenin

13.

Which approach to film history is concerned with the artistic significance and influence of individual films or directors?

aesthetic approach

14.

Filmmakers of the New American Cinema such as Robert Drew, Don Alan
Pennebaker, and brothers Albert and David Maysles are associated with
the ___________ movement, which draws inspiration from cinéma vérité.

Direct Cinema

15.

What are the four traditional approaches to film history?

aesthetic, technological,economic, social

16.

The various “new cinemas” or New Wave movements in Europe and Asia are in many respects a reaction to what historical event?

World War II

17.

Approach to film history that addresses the formation of the studio system, the distribution and exhibition of movies, and the rise of an independent system of film production.

economic approach

18.

film director working in the silent period is often credited with creating classical Hollywood film style

D. W. Griffith

19.

German expressionist films are characterized by _____________ settings, ____________ camera angles, and themes such as _____________.

exaggerated; oblique; alienation

These are common characteristics of German expressionist films (page 427–430). See also Disc 1, Chapter 5: Mise-en-Scène, Setting and Expressionism

20.

The New German cinema (das neue Kino) was founded by a group of filmmakers who believed that German cinema must deal with what two issues?

the Nazi period; the reemergence of postwar Germany as a divided country

21.

The short-lived Nubero Bagu movement in Japan was influenced by _____________ and is marked by ___________ and _____________.

the French New Wave; brutality; nihilism

22.

Which Soviet filmmaker considered film
editing to be a creative process that functioned according to the
dialectics of Karl Marx?